︎︎︎︎︎︎︎︎︎︎︎ ︎ ︎︎︎︎︎︎︎︎︎︎︎ ︎ ︎︎︎︎︎︎︎︎︎︎︎ ︎ ︎︎︎︎︎︎︎︎︎︎︎ ︎ ︎︎︎︎︎︎︎︎︎︎︎ ︎ ︎︎︎︎︎︎︎︎︎︎︎ ︎
THIS IS A PRERENDER OF A WORK IN PROGRESS
I AM OPEN TO FEEDBACK! (BECAUSE I AM BLIND)
︎︎︎︎︎︎︎︎︎︎︎ ︎ ︎︎︎︎︎︎︎︎︎︎︎ ︎ ︎︎︎︎︎︎︎︎︎︎︎ ︎ ︎︎︎︎︎︎︎︎︎︎︎ ︎ ︎︎︎︎︎︎︎︎︎︎︎ ︎
The journey of my protagonist, the Angel of History
—inspired by Paul Klee’s 1920 monoprint, Angelus Novus, and conceptualized by Walter Benjamin in 1940—
functions as a foundational framework for my explorations of image processing technologies. He writes:
Her eyes are staring, her mouth is open, her wings are spread. This is how one pictures the Angel of History.
Her face is turned toward the past, where she perceives a chain of events: catastrophes piling wreckage upon wreckage.
The Angel would like to stay, awaken the dead, and make whole what has been smashed.
But as the pile of debris before her grows skyward, a storm is blowing from Paradise;
it has caught her wings with violence, propelling her into a future to which her back is turned.
This is the storm we call progress.
[*transformed from:] Benjamin, Walter. "Theses on the Philosophy of History",
Illuminations, trans. Harry Zohn, New York: Schocken Books, 1969: 249.
A century after her first description by Benjamin, image processing technologies have evolved dramatically.
The Angel now finds herself traversing a landscape littered with piles of obsolete technologies,
stifled by trade-offs and obscured by standard settings.
As the Angel navigates the endless spiral of digital 'advancements',
she finds herself caught in the ripples of its distortions,
finding it increasingly harder to render the world around her.
Illuminations, trans. Harry Zohn, New York: Schocken Books, 1969: 249.
A century after her first description by Benjamin, image processing technologies have evolved dramatically.
The Angel now finds herself traversing a landscape littered with piles of obsolete technologies,
stifled by trade-offs and obscured by standard settings.
As the Angel navigates the endless spiral of digital 'advancements',
she finds herself caught in the ripples of its distortions,
finding it increasingly harder to render the world around her.
︎︎︎︎︎︎︎︎︎︎︎ ︎ ︎︎︎︎︎︎︎︎︎︎︎ ︎ ︎︎︎︎︎︎︎︎︎︎︎ ︎ ︎︎︎︎︎︎︎︎︎︎︎ ︎ ︎︎︎︎︎︎︎︎︎︎︎ ︎ ︎︎︎︎︎︎︎︎︎︎︎ ︎
In a live television performance titled the Collapse of PAL, the Angel of History reflects on the transition from analog Phase Alternate Line signal (PAL, 625 lines, of which 576 visual) to Digital Video Broadcasting (DVB, 720 x 576 pixels).
She expresses her desire to make whole what has been broken, but remains a passive observer, rationalizing the end of the signal:
“PAL is just not good enough.”
The Angel mourns its obsolescence as the end of an era, unaware that its moment/um has already propelled her into the cycles of digital collapse, pulling her along the Holographic PenRose Stairscases to Nowhere, or what engineers call “progress.“
While the Angel reflects on the violent ending of a signal, traces of PAL persist, haunting ‘better’ digital systems. Even though DVB offers upgraded quality, resolution is never an endpoint, but an ongoing process of endless bends and breaks.
She expresses her desire to make whole what has been broken, but remains a passive observer, rationalizing the end of the signal:
“PAL is just not good enough.”
The Angel mourns its obsolescence as the end of an era, unaware that its moment/um has already propelled her into the cycles of digital collapse, pulling her along the Holographic PenRose Stairscases to Nowhere, or what engineers call “progress.“
While the Angel reflects on the violent ending of a signal, traces of PAL persist, haunting ‘better’ digital systems. Even though DVB offers upgraded quality, resolution is never an endpoint, but an ongoing process of endless bends and breaks.
0001 — MATERIAL: TO FIND RESOLUTION IN THE BREAK
.
Unresolved (84,48 meters long data file painted on canvas, partially wrapped, 2016)
Forced to migrate into the digital and upset by the loss of analogue connection, the Angel's initial actions are disruptive.
In Acousmatic Videoscapes she manipulates various layers of digital technology, triggering artifacts caused by feedback, compression and glitches.
But gradually, the Angel starts to recognize something more than pure distortion within these breaks: the ruptures seem to show what normally remains hidden within the black box of technology. An observation that prompts her to critically examine the materiality revealed inside digital disruptions.
A key insight comes from Unresolved, an 84,48-meters-long data file that follows a linear Bitmap organization, encoded pixel by pixel, illustrating that digital resolution is no longer solely vertically encoded (like the signal PAL). The long, unwrapped line of data demonstrates that digital resolutions are not just quantized vertically, but also horizontally (and possibly other Axes).
Moreover, it shows that a final render depends on how hardware reads, displays, or distorts the data. Resolution is therefore not just a fixed standard, but shaped by the entire technological apparatus, or imaging pipeline, involving production, dissemination, display and reception. Digital images are therefore never really static (as they depend on constant reinterpretation at every step of the image processing pipeline)
Armed with this new understanding of resolution, the Angel pushes further, conducting experiments aimed at revealing the language of digital compression. She transcodes a self-portrait into nine common compression formats (GIF, BMP, JPEG, etc.). By glitching these visually identical images, she uncovers the unique structure of each compression algorithm, exposing the hidden logic inherent to each file format. She documents and describes these protocols in A Vernacular of File Formats, highlighting the materiality that defines the digital image.
In Acousmatic Videoscapes she manipulates various layers of digital technology, triggering artifacts caused by feedback, compression and glitches.
But gradually, the Angel starts to recognize something more than pure distortion within these breaks: the ruptures seem to show what normally remains hidden within the black box of technology. An observation that prompts her to critically examine the materiality revealed inside digital disruptions.
A key insight comes from Unresolved, an 84,48-meters-long data file that follows a linear Bitmap organization, encoded pixel by pixel, illustrating that digital resolution is no longer solely vertically encoded (like the signal PAL). The long, unwrapped line of data demonstrates that digital resolutions are not just quantized vertically, but also horizontally (and possibly other Axes).
Moreover, it shows that a final render depends on how hardware reads, displays, or distorts the data. Resolution is therefore not just a fixed standard, but shaped by the entire technological apparatus, or imaging pipeline, involving production, dissemination, display and reception. Digital images are therefore never really static (as they depend on constant reinterpretation at every step of the image processing pipeline)
Armed with this new understanding of resolution, the Angel pushes further, conducting experiments aimed at revealing the language of digital compression. She transcodes a self-portrait into nine common compression formats (GIF, BMP, JPEG, etc.). By glitching these visually identical images, she uncovers the unique structure of each compression algorithm, exposing the hidden logic inherent to each file format. She documents and describes these protocols in A Vernacular of File Formats, highlighting the materiality that defines the digital image.
Now more familiar with the inner workings of various compression formats and the aesthetics of their glitches, the Angel starts recognizing the traces of their digital bends and breaks everywhere.
In one such instance, she observes a senior Discrete Cosine Transform (DCT, a key algorithm of the JPEG compression, that converts 8x8 pixel blocks into 64 frequency components), instructing a Junior DCT how to transcode data from one compression language to another, or as they call it: how to ‘SYPHON.’
In a scene reminiscent of Edwin Abbott Abbott’s Flatland (1884), Junior and Senior DCT syphon from one Realm of Compression Complexity to the next. At first, they transcode simple artifacts such as dither, lines and blocks. However, as they navigate into more complex realms—such as wavelets and vectors—they push against the limits of their compatibility and ultimately trigger a kernel panic.
From a Holographic Penrose Staircase to Nowhere, just one complexity beyond them, the Angel tries to intervene, proposing a forked solution to the DCTs. She commits:
This is information! Unlike data, information spans multiple dimensions. It moves upward, not just northward!
But the DCTs have already syphoned back to simpler complexities.
The Angel develops a fork (modification) of DCT, mapping each of its 64 distinct blocks to the most frequently used characters of the Roman alphabet. A method that allows her to steganographically write in error.
However, for the Angel, this fork of DCT is more than a poetic, steganographic tool; it provides radical access to the inner workings of a JPEG, enabling precise manipulations within the Huffman table. A process that illustrates how compression fundamentally alters the essence of image data, transforming image resolution into material evidence of transcoding. These traces, or compression artifacts, left on the file and embedded in its metadata, form a record of compromise within resolution, indexing the algorithmic events along a file’s journey.
.
0010 — GENEALOGY: TRACING LINEAGES OF COMPROMISE
.
.
The Angel's encounter with the DCTs, combined with the insights she has gained from developing her own fork of the algorithm, shift her interest from critical material research to a genealogy of resolutions.
She organizes a Pique Nique Pour les Inconnues; a conference call for all forgotten and unknown faces of color calibration, especially those featured on color calibration test cards. During the event, the Angel and her invitees are shocked to discover that color calibration not only perpetuates female objectification, but also reinforces racial bias by predominantly featuring white women. Realizing that standardized resolutions often contribute to inequality, they rally against these systems.
The gathering evolves into a desktop tele-choral performance, during which the group sings Paul McCartney's “We All Stand Together.” They also establish a tactical presence as the i.R.D. (institutions of Resolution Disputes) and their De/Calibration Army.
The soldiers in the Army use 365 Perfect beautification software to erase all blemishes, enlarge all eyes, and whiten skin over so many iterations that their tones distort, quantized toward a green hue, amplifying the governing standards imposed by both beautification software and algorithms at large.
.
Whiteout (2020)
0011 — SCALE: A SEARCH TO RESOLVE 👁️
The Angel has learnt that even the latest software or filter may be rooted in a severely flawed protocol. As a result, she wishes to adopt more open standards to explore a broader spectrum of manipulation.
Her quest ultimately leads her to a Whiteout: oversaturated with noise and devoid of resolution, the Angel is once again caught in a storm. Struggling to render anything, she loses a sense of direction amidst overwhelming distortions. In an attempt to regain perspective, she begins to categorize various lines that could provide a shape of guidance:
a scanline, an outline, a separator, a progress bar, a ruler, a threshold, a mesh, a spline, a timeline, a sequence, an axis, a connector, a link, a pixel, a block, a wavelet, a vector…
From the collection, the Angel compiles a Binary Large OBject or BLOB; an uncommitted shape, textured with moiré. The BLOB projects an environment where she no longer needs to follow a specific protocol or line of sight. Instead, it acts as a container for all im/possible image render pipelines. It defies the rigidity of standards, offering a fluid, adaptive space, exposing the oppressive flow of resolution through compromise.
The BLOB not only illustrates how norms, values, beliefs and expectations shape the development, use, and understanding of resolution; it also exposes the relationship between function and compromise, showing that every pipeline involves not just a process of rendering but also a trade-off, leaving traces of exclusion and compression.
Her quest ultimately leads her to a Whiteout: oversaturated with noise and devoid of resolution, the Angel is once again caught in a storm. Struggling to render anything, she loses a sense of direction amidst overwhelming distortions. In an attempt to regain perspective, she begins to categorize various lines that could provide a shape of guidance:
a scanline, an outline, a separator, a progress bar, a ruler, a threshold, a mesh, a spline, a timeline, a sequence, an axis, a connector, a link, a pixel, a block, a wavelet, a vector…
From the collection, the Angel compiles a Binary Large OBject or BLOB; an uncommitted shape, textured with moiré. The BLOB projects an environment where she no longer needs to follow a specific protocol or line of sight. Instead, it acts as a container for all im/possible image render pipelines. It defies the rigidity of standards, offering a fluid, adaptive space, exposing the oppressive flow of resolution through compromise.
The BLOB not only illustrates how norms, values, beliefs and expectations shape the development, use, and understanding of resolution; it also exposes the relationship between function and compromise, showing that every pipeline involves not just a process of rendering but also a trade-off, leaving traces of exclusion and compression.
BLOB of Im/Possible ImagesObsolete Gamut at Zenith (2023)
During a long session of stacking lines into the BLOB, the Angel finds herself in a forest of spiraling vectors. A particular grove,
known as ”Wodan’s Trees,” forks quite differently from its surroundings.
It’s clear why the grove is named after Wodan (Odin), the cyclops god who sacrificed an eye in exchange for the sense of future vision:
Even though the branches continue to grow, they only display an Obsolete Gamut at Zenith, signalling the end of their cycle and impending failure to render.
Fascinated by the lore of future failure, a perspective diametrically opposed to her own fixation on past collapse, the Angel decides to enter the grove, in the hope to learn from Wodan’s sense of future vision.
But as soon as she enters, a critical malfunction overtakes her. The Angel, who is used to navigate a past made of bends and breaks, finds herself disoriented when confronted with a future tangled in forked branches and distributed, PenRose-like revisions.
Caught in a recursive double blind between a future already showing signs of collapse, and a past that is obsolete, everything around her seems to be in ruins.
With no sense of direction; up or down, forward or backward, the Angel feels suspended. Unbeknownst to her, she has tumbled down the abyss of her own Myopia.
known as ”Wodan’s Trees,” forks quite differently from its surroundings.
It’s clear why the grove is named after Wodan (Odin), the cyclops god who sacrificed an eye in exchange for the sense of future vision:
Even though the branches continue to grow, they only display an Obsolete Gamut at Zenith, signalling the end of their cycle and impending failure to render.
Fascinated by the lore of future failure, a perspective diametrically opposed to her own fixation on past collapse, the Angel decides to enter the grove, in the hope to learn from Wodan’s sense of future vision.
But as soon as she enters, a critical malfunction overtakes her. The Angel, who is used to navigate a past made of bends and breaks, finds herself disoriented when confronted with a future tangled in forked branches and distributed, PenRose-like revisions.
Caught in a recursive double blind between a future already showing signs of collapse, and a past that is obsolete, everything around her seems to be in ruins.
With no sense of direction; up or down, forward or backward, the Angel feels suspended. Unbeknownst to her, she has tumbled down the abyss of her own Myopia.
Struck by the beam of darkness that comes from her own time, the Angel floats through time and space, with no day or night, no axis of rotation, no North or South...
Yet, in this total darkness, the Angel does perceive something: the absence of light has activated the “off-cells” in her retina, producing a particular type of gray. This not-a-color gray, her Eigengrau, is only visible when she closes her eyes; it exists in a stark contrast with the void surrounding her and allows her to recognize her own blindness.
In the middle of this profound absence of light and color, the Angel searches for a way to restore her lost frequencies. She builds a Rainbow Generator, designed to refract a Spectrum of Lost and Un/Named Colours. But even though the device gives her control over large bands of frequencies across the electromagnetic spectrum, she still can’t perceive them; the generator only seems to emphasize the limits of her own vision.
The Angel realizes that her blindness isn’t the result of a lack of light. In this space, perception may require a different type of sensor—eyes that are larger, slower, or more sensitive to other frequencies of light.
Finally, with antennas mounted in her eye sockets, she starts scanning the darkness, intending to build an image from its echoes. Her new form of perception does not rely on illumination; like a satellite mapping the Earth’s topography, she collects data via radar signals, bouncing back from her surroundings.
The Angel sends radar into the darkness, while scanning different bands of the spectrum. After collecting a dataset large enough to compile an image from, she sets out to render a map, to get a perspective of her surroundings. But instead, she finds a glitch.
Rainbow Generator (2024).
Refractions in light and time (2023)CyCLOPS Retina (in collaboration with Kimchi and Chips, commissioned Install for Thin Air @The Beams, 2023)
.
ALEV 01 + ALEV 02 
AKMS01 + AKMS02 
SOUN01 + SOUN02
ASGA01 + ASGA02 
MATS02 + MATS01 -
TROU01 + TROU02 IN MILITARY ZONE
Progress, once symbolized by the Holographic PenRose Stairs to Nowhere, is rendered broken, resolving in a giant cairn of nonsensical vectors. This glitched cairn, reminiscent of a Spomenik, a monument commemorating no specific moment or entity, suggests that either the Angel’s dataset is flawed or her tools cannot resolve its information.
At a loss, the Angel reflects on the Spomenik glitch, symbolizing the collapse of progress. She approaches it cautiously, tracing the dynamic edges of its vectors. The Spomenik, layered with sediments of resolution, is thick with evidence of histories she had never known. At one of its shredded sides, she finds a Delta Axis; a viewport revealing a repository of render objects continuously transformed by machine-to-machine processes. Some fragments appear synthetic, as if generated by AI systems, but whatever they seem to render remains beyond her resolution.
Like a media archaeologist from the future, the Angel tries to reconstruct what has been lost, broken, or simply unrendered. But the synthetic data follows machine-defined standards, creating a disconnect between her perception and its machine resolution. Its holographic textures no longer render traditional assets formatted in DCT, wavelet, or vector-based graphics. Instead, the cairn is a collection of objects and processes for which she is neither the intended user nor a possible interlocutor.
Panic sets in.
She pauzes when she remembers her own commitment to verticality when she witnessed the DCTs Panic.
If her tools cannot interpret this data, another framework may decalibrate its glitch. Beaming into the darkness around her, the Angel desperately seeks an external calibration tool. Sending signal after signal, hoping for something, anything, that can provide clarity. But there's nothing but noise.
Finally, deep within the C-Band frequency, she recognizes a faint echo.
It’s hard to triangulate, but it’s there, a corner reflector!
Metadata confirms its provenance: the corner reflector is part of the CyCLOPS network, a system designed to calibrate data misaligned across time and space. When the Angel bounces her dataset via a CyCLOPS, she recalibrates its phase difference. And just like that, the image renders clearly...
She can see now that the Spomenik glitch wasn’t an error in the dataset she collected,
but that it emerged from her incompatible methods of sensing in a synthetic environment.
While the Angel followed a paradigm prioritizing clarity and fidelity, the world around her had shifted to resolutions optimized for machines by machines, favoring dynamic abstraction, efficiency, and automation.
Progress, once a force that propelled her backward into the future, has now left her with a vision between void and glitch, lost in a landscape devoid of clarity and fidelity, fully dependent on a distributed system of resolution.
At a loss, the Angel reflects on the Spomenik glitch, symbolizing the collapse of progress. She approaches it cautiously, tracing the dynamic edges of its vectors. The Spomenik, layered with sediments of resolution, is thick with evidence of histories she had never known. At one of its shredded sides, she finds a Delta Axis; a viewport revealing a repository of render objects continuously transformed by machine-to-machine processes. Some fragments appear synthetic, as if generated by AI systems, but whatever they seem to render remains beyond her resolution.
Like a media archaeologist from the future, the Angel tries to reconstruct what has been lost, broken, or simply unrendered. But the synthetic data follows machine-defined standards, creating a disconnect between her perception and its machine resolution. Its holographic textures no longer render traditional assets formatted in DCT, wavelet, or vector-based graphics. Instead, the cairn is a collection of objects and processes for which she is neither the intended user nor a possible interlocutor.
Panic sets in.
She pauzes when she remembers her own commitment to verticality when she witnessed the DCTs Panic.
If her tools cannot interpret this data, another framework may decalibrate its glitch. Beaming into the darkness around her, the Angel desperately seeks an external calibration tool. Sending signal after signal, hoping for something, anything, that can provide clarity. But there's nothing but noise.
Finally, deep within the C-Band frequency, she recognizes a faint echo.
It’s hard to triangulate, but it’s there, a corner reflector!
Metadata confirms its provenance: the corner reflector is part of the CyCLOPS network, a system designed to calibrate data misaligned across time and space. When the Angel bounces her dataset via a CyCLOPS, she recalibrates its phase difference. And just like that, the image renders clearly...
She can see now that the Spomenik glitch wasn’t an error in the dataset she collected,
but that it emerged from her incompatible methods of sensing in a synthetic environment.
While the Angel followed a paradigm prioritizing clarity and fidelity, the world around her had shifted to resolutions optimized for machines by machines, favoring dynamic abstraction, efficiency, and automation.
Progress, once a force that propelled her backward into the future, has now left her with a vision between void and glitch, lost in a landscape devoid of clarity and fidelity, fully dependent on a distributed system of resolution.
A Holographic PenRose stairs to Nowhere
Spomenik (4x4 meters projection mapped wooden installation; 2017)
As installed at Transfer Gallery New York, for Behind White Shadows
0110 — THE ATLAS OF THE DESTITUTE OF VISION
Taking on her new role as Media Archeologist from the future, the Angel compiles her journey through the ecology of resolutions within an Atlas of the Destitute of Vision. A collection of maps that illustrate the hidden frameworks governing our renders. Via the Atlas, the Angel conveys that resolution is not simply about clarity; to resolve means to filter, to deploy lenses, and to accept blind spots.
The Atlas of the Destitute of Vision reveals that resolution is not just a matter of clarity. To resolve means to shape what remains unseen; to decide what is rendered visible and what remains obscured. Just like blur - or lack of resolution - may indicate censorship or governance, a glitch may reveal not just a break, but a complexity in formatting. It maps an ecology of resolutions, capturing their dynamic, constantly evolving materiality, genealogies, scale, scope, dissemination, and qualitative receptions.
The Atlas of the Destitute of Vision reveals that resolution is not just a matter of clarity. To resolve means to shape what remains unseen; to decide what is rendered visible and what remains obscured. Just like blur - or lack of resolution - may indicate censorship or governance, a glitch may reveal not just a break, but a complexity in formatting. It maps an ecology of resolutions, capturing their dynamic, constantly evolving materiality, genealogies, scale, scope, dissemination, and qualitative receptions.
︎︎︎︎︎︎︎︎︎︎︎ ︎ ︎︎︎︎︎︎︎︎︎︎︎ ︎ ︎︎︎︎︎︎︎︎︎︎︎ ︎ ︎︎︎︎︎︎︎︎︎︎︎ ︎ ︎︎︎︎︎︎︎︎︎︎︎ ︎ ︎︎︎︎︎︎︎︎︎︎︎ ︎
Rosa Menkman is a Dutch artist and researcher of resolutions. Her work focuses on noise artifacts resulting from accidents in both analogue and digital media.
The journey of her protagonist, the Angel of History—inspired by Paul Klee’s 1920 monoprint, Angelus Novus, and conceptualized by Walter Benjamin in 1940—functions as a foundational framework for her explorations of image processing technologies. As the machines upgrade, the Angel finds herself caught in the ripple of their distortions, unable to render the world around her.
Complementing her practice, she published Glitch Moment/um (INC, 2011), a book on the exploitation and popularization of glitch artifacts. She further explored the politics of image processing in Beyond Resolution (i.R.D., 2020). In this book, Rosa describes how the standardization of resolutions promotes efficiency, order, and functionality, but also involves compromises, resulting in the obfuscation of alternative ways of rendering.
In 2019, Rosa won the Collide Arts at CERN Barcelona award, which inspired her recent research into im/possible images, consolidated in the im/possible images reader (published by the i.R.D. & Lothringer, with support from V2, 2022).
From 2018 to 2020, Rosa worked as Substitute Professor of Neue Medien & Visuelle Kommunikation at the Kunsthochschule Kassel.
Since 2023, she has been running the Im/Possible Lab at HEAD Geneve. Class materials can be found here; please copy <it> right!.
Recent work can be found in this pdf portfolio.
The journey of her protagonist, the Angel of History—inspired by Paul Klee’s 1920 monoprint, Angelus Novus, and conceptualized by Walter Benjamin in 1940—functions as a foundational framework for her explorations of image processing technologies. As the machines upgrade, the Angel finds herself caught in the ripple of their distortions, unable to render the world around her.
Complementing her practice, she published Glitch Moment/um (INC, 2011), a book on the exploitation and popularization of glitch artifacts. She further explored the politics of image processing in Beyond Resolution (i.R.D., 2020). In this book, Rosa describes how the standardization of resolutions promotes efficiency, order, and functionality, but also involves compromises, resulting in the obfuscation of alternative ways of rendering.
In 2019, Rosa won the Collide Arts at CERN Barcelona award, which inspired her recent research into im/possible images, consolidated in the im/possible images reader (published by the i.R.D. & Lothringer, with support from V2, 2022).
From 2018 to 2020, Rosa worked as Substitute Professor of Neue Medien & Visuelle Kommunikation at the Kunsthochschule Kassel.
Since 2023, she has been running the Im/Possible Lab at HEAD Geneve. Class materials can be found here; please copy <it> right!
Recent work can be found in this pdf portfolio.
This website was made possible with the financial support of the Stimuleringsfonds.nl (2018)
I am grateful to have received a basis stipend from the Mondriaan Fund (2018-2021) and just recently: 2023 - 2027!
︎︎︎︎︎︎︎︎︎︎︎ ︎ ︎︎︎︎︎︎︎︎︎︎︎ ︎ ︎︎︎︎︎︎︎︎︎︎︎ ︎ ︎︎︎︎︎︎︎︎︎︎︎ ︎ ︎︎︎︎︎︎︎︎︎︎︎ ︎ ︎︎︎︎︎︎︎︎︎︎︎ ︎